Description
Attributed to JACOPO AMIGONI (Venice, 1680/1682 - Madrid, 1752). "Marquis of the Ensenada. Oil on canvas. Presents Puncture. It conserves frame of epoch. Measurements. 83 x 67 cm; 87 x 81 cm (frame). This work follows the models of the portrait of the Marquis de la Ensenada painted by Jacopo Amigoni, c. 1750, which is currently part of the collection of the Prado Museum in Madrid. Although in this particular case the protagonist appears inscribed in a neutral background that provides unique prominence to the figure of the Marquis. Numerous versions of this portrait were made, such as the one in the Musey Nacional d'Art de Catalunya. Zenón de Somodevilla y Bengoechea, I Marquis of Ensenada (Alesanco, near Logroño - 1781), commonly known as the Marquis of Ensenada, was a Spanish statesman. He played a key role in the drafting and implementation of the Great Gypsy Raid, officially known as the General Imprisonment of the Gypsies, which was an attempt to exterminate the Gypsies living in Spain, resulting in the deaths of 12,000 Gypsies. Jacopo Amigoni, also called Giacomo Amiconi, was a late Baroque or Rococo Italian painter, who began his career in Venice, but traveled and was prolific throughout Europe, where his sumptuous portraits were in great demand. At first, Amigoni painted mythological and religious scenes; but as the panoply of his patrons expanded northward, he began to produce many salon works depicting gods in sensual languor or play. His style influenced Giuseppe Nogari. Among his disciples were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner and Antonio Zucchi. From 1717, he is documented working in Bavaria, in the castle of Nymphenburg. He returned to Venice in 1726. His Arrebato de Paris is preserved in the Villa Pisani in Stra. From 1730 to 1739 he worked in England, at Pown House, Moor Park Wolterton Hall and at the Covent Garden theater. From there, he helped convince Canaletto to travel to England by telling him of the ample patronage available. In 1747 he left Italy for Madrid, encouraged by Farinelli, who had a court appointment there. He became court painter to Ferdinand VI of Spain and director of the Royal Academy of San Fernando. Presents Puncture. Preserves period frame.
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Attributed to JACOPO AMIGONI (Venice, 1680/1682 - Madrid, 1752). "Marquis of the Ensenada. Oil on canvas. Presents Puncture. It conserves frame of epoch. Measurements. 83 x 67 cm; 87 x 81 cm (frame). This work follows the models of the portrait of the Marquis de la Ensenada painted by Jacopo Amigoni, c. 1750, which is currently part of the collection of the Prado Museum in Madrid. Although in this particular case the protagonist appears inscribed in a neutral background that provides unique prominence to the figure of the Marquis. Numerous versions of this portrait were made, such as the one in the Musey Nacional d'Art de Catalunya. Zenón de Somodevilla y Bengoechea, I Marquis of Ensenada (Alesanco, near Logroño - 1781), commonly known as the Marquis of Ensenada, was a Spanish statesman. He played a key role in the drafting and implementation of the Great Gypsy Raid, officially known as the General Imprisonment of the Gypsies, which was an attempt to exterminate the Gypsies living in Spain, resulting in the deaths of 12,000 Gypsies. Jacopo Amigoni, also called Giacomo Amiconi, was a late Baroque or Rococo Italian painter, who began his career in Venice, but traveled and was prolific throughout Europe, where his sumptuous portraits were in great demand. At first, Amigoni painted mythological and religious scenes; but as the panoply of his patrons expanded northward, he began to produce many salon works depicting gods in sensual languor or play. His style influenced Giuseppe Nogari. Among his disciples were Charles Joseph Flipart, Michelangelo Morlaiter, Pietro Antonio Novelli, Joseph Wagner and Antonio Zucchi. From 1717, he is documented working in Bavaria, in the castle of Nymphenburg. He returned to Venice in 1726. His Arrebato de Paris is preserved in the Villa Pisani in Stra. From 1730 to 1739 he worked in England, at Pown House, Moor Park Wolterton Hall and at the Covent Garden theater. From there, he helped convince Canaletto to travel to England by telling him of the ample patronage available. In 1747 he left Italy for Madrid, encouraged by Farinelli, who had a court appointment there. He became court painter to Ferdinand VI of Spain and director of the Royal Academy of San Fernando. Presents Puncture. Preserves period frame.
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